Cabosanroque's theatre (Laia Torrents and Roger Aixut) has shunned theatrical conventions, moving towards visual and sound proposals that are difficult to categorize. A performative theatre that develops music-visual artifacts, playing with tempos and metrics, with sound and silence in fully contemporary scores and stage spaces of strong plasticity. In their creative territory, there is a deliberate absence of literature, although they have created shows about Verdaguer, Rodoreda, and Brossa with scarce human presence. This changes in Mil tres, say cheese, a kind of stimulating contemporary opera based on the character of Don Juan and the music of Mozart.

Education is not only one of the main topics of public policies, subject to too constant changes that do not facilitate the functioning of schools and end up negatively influencing children's academic results. It is also a troubling problem that all parents face when they have to decide where and how to guide their sons' or daughters' education with the hope that whoever gets it right guesses it.

The historical novel or false biography of the Roman emperor Hadrian is the best-known and most-read book by the Belgian writer Marguerite Yourcenar. The novel was adapted for the stage by the Italian director Maurizio Scaparro in 1989 and a few years later it was seen in the Castilian version by Julio Cortázar, also directed by Scaparro, at the Teatre Grec in Barcelona. Now the show returns to the stage with a dramatization by Brenda Escobedo and with the fantastic starring role of Lluís Homar, for whom the part is a perfect fit. Hadrian/Yourcenar's reflections on politics, wars, beauty, and death compose a human fresco that the virtuous Lluís Homar conveys, combining delicacy with depth, confidence with tender melancholy. 

You have to warm up before you start. And if you're warming up, you'd better keep warming up because if you stop, you'll have to start all over again. And that's always difficult. So says the flamenco dancer Rocío Molina, and that's why, while the audience sits in their seats and chats away, she exercises on a mat in the middle of the empty stage. And that's why, after two hours of a high-heeled spectacle, after the greeting from the rest of the company and a resounding applause with the entire audience on their feet and reluctant to leave, she will continue tapping her heels while the music plays.Achilipú by Dolores Vargas, La Terremoto.

Sol Picó closes a chapter with her first show in the Sala Gran of the Teatre Nacional. A show that is a farewell or, as she says, a transformation. And it arrives with a personal apocalypse full of strength, dedication, and magnificent choreography.

Tender It's a kind of striptease The emotional space between a couple of artists. "You take up more space," Judit Colomer tells Pau Vinyals. And it's true. He's the table and she's the chair in the living room, we're told. That may or may not be the case in their actual home, but it certainly is in the shared experience of this creative performance they both produced. Perhaps it's because she's a good set designer but a debut actress, while he's a good actor with a notable career. Perhaps it's because she's more emotionally grounded and mature, while he's more playful, outgoing, funny, and likes to bare his soul and show off his underwear. Perhaps it's because, ultimately, he represents the eternally dominant baron who explains how they met without her saying a word, and when she wants to speak, he constantly interrupts her. Perhaps it's because he needs to explain his bisexuality to himself and to us.

An inevitable reminder of a rather significant performance in the history of the Teatre Lliure and a proposal for the future with a young company. The Night of the Tribades (that is, lesbians) premiered in 1978 under the direction of Fabià Puigserver and with Anna Lizaran, Quim Lecina, Domènec Reixach and Muntsa Alcañiz, who attended the premiere of the new proposal at the romantic Teatre de Sarrià and who at the end of the performance received a flower from the director, Oriol Broggi

French director Séverine Chavrier, whom we met four years ago with And the new ones where I forgot (the adaptation ofThe lime kiln Thomas Bernhard's play), has returned to the Teatre Nacional de Catalunya. And it has done so with a very free adaptation of one of William Faulkner's most celebrated but also most complex works, Absalom, Absalom! Faulkner narrates the rise and fall of Thomas Sutpen, a poor Mississippi boy in the early 19th century who achieves wealth and becomes a slave-owning tyrant in his quest for social recognition.

Heimpossible It is the word Tiago Rodrigues uses to designate the indefinable but real geographical space into which humanitarian workers venture. A space opposed to possible...which is where they come from and where they return at the end of each mission, and is the space where we inhabitants of the First World live.

Joel Juan was crying. He was crying as he said hello. Tears brought on, we don't know, by Sonia's final monologue about boundless resilience and faith in the afterlife, or by the emotional release he felt after an hour and a half journey with the eight characters of Uncle Vanya by Chekhov.

Argos was the name of Ulysses' dog. Only he recognized him when he returned home disguised as a vagrant after twenty years of warlike odysseys. Vera (a superb Ariella Reggio) is an elderly woman with Alzheimer's who fled Pula (Istria) after World War II. And York is the name of the dog she had as a child. A dog that, like Argos, is a symbol of home and the land to which she now returns on a road trip organized by her friend Beatrice (Maria Ariis) to discover something seemingly as simple as her mother's birthdate. The mother, the daughter, and the squeaky-clean Clara (Lucia Limonta) embark on a journey that confronts them with the past and memory, with the silence that always surrounds exile. Three generations, three lives, three personalities, and many miles traveled in a beat-up car to process the past and the present, to shed light on the unknown.

In 2025, 21% of the State's citizens were 65 years of age or older. And 5.5% of those over 65 suffer or will suffer from Alzheimer's. Marc Artigau, one of the most awarded and performed Catalan playwrights, has aptly written works about adolescence (The others); on improvised happiness (Good intentions); about grandparents and habaneras (There's no need to go to Havana); about robots (Sunrise or the Garden of Earthly Delights), and several love stories (You will arrive and it will be night and The deserted islandAnd he always does so with a touch of comedy, even when discussing serious matters. This is the case withA party in Rome, which focuses on a theme that theater has often explored, in keeping with the social importance of Alzheimer's disease (The father, by Florian Zeller; Full moon, by Aki Shimazaki; Deserts of memory, by Marcela Tierra; Before the German arrives(by Marta Barceló). A painful subject that could easily lead to drama, but which Artigau turns into an entertaining sentimental comedy that Clara Segura directs with confidence and rhythm, and which the audience applauds enthusiastically.

The French princess Margaret of Anjou is a fairly important figure in English history. Married by proxy at the age of 16 to Henry VI, she became a powerful queen renowned for her intelligence and political acumen, but also for her unwavering courage, which, as Edward Hall said, made her "more like a man than a woman." In the theater, she is a minor character in four of William Shakespeare's plays (the three parts ofHenry VI and, above all, Richard III), all of them documented from The Holinshed Chronicles (Chronicles of England, Scotland, and Ireland), written between 1528 and 1580. "She-wolf of France, if not worse than the wolves of France," says the Duke of Suffolk in one of them.

The future of our children is one of humanity's greatest current concerns in a world dominated by uncertainty and where all sustainability initiatives are being stripped away. On January 1, 2023, the European Union designated nuclear energy as green energy. In early February 2026, Donald Trump eliminated limitations on greenhouse gases, and the agreement between Russia and the United States on the proliferation of nuclear weapons expired without renewal. The environment is in dire straits, and the irresponsibility of those making these decisions will clearly affect the children of all humanity, as the renowned British playwright Lucy Kirkwood tells us in her play. The children (The children), a play that premiered at London's Royal Court Theatre in 2017, now presented in a magnificent translation by Cristina Genebat and featuring memorable performances by Mercè Aránega, Emma Vilarasau, and Jordi Boixaderas.

A distant song It's one of those productions where all the elements conspire to create a splendid result. A gem in the small, intimate space of Dau al Sec, proving that no grand gestures are needed to move an audience. It is, indeed, a monologue. A monologue accentuated by the humanistic text of British playwright Simon Stephens, by the brief and delicate jazzy phrases of Mark Eitzel—known as the leader of the band American Music Club—by the demanding direction of Oscar Fabrés, and, of course, by the moving performance of Eduardo Lanoras, by the entirety of Eduardo Lloveras, enveloped in lighting with warm textures (Sergio García).

Carai con The PiratesReduce the trilogy! The village Adapting Carlo Goldoni's great work into a 90-minute play while preserving all the energy, humor, and critique of the original must be no easy feat. And staging it with only four actors is a true acting challenge, which Núria Cuyàs, Ricard Farré, Laura Pau, and Arnau Puig overcome with virtuosity and great comedic flair under the ingenious and vibrant direction of Adrià Aubert.

The ferryman by Jez Butterworth, the author of JerusalemIt is a truly exceptional work and theatrical production for several reasons, including its length (three and a quarter hours, plus two intermissions), the number of performers (nineteen), the awards it has won (including the Laurence Olivier), and the record-breaking ticket sales in the history of London's Royal Court Theatre. In Barcelona, ​​its appeal lies in the excellent casting of the Lliure production, the outstanding performances of an intergenerational cast, a staging that captures the best of Julio Manrique, and the prominence of an absent character. But above all, it stems from the resonance it evokes in any community, like ours.

There are works that approach horror with a Brechtian-rooted distancing that, without influencing emotional empathy, strike deep inside and reveal the most terrible aspects of the human condition. How I learned to drive She is one of them.

There aren't many artists from the performance who have exhibited their work at MoMA in New York (The artist is presentAnd surely Marina Abramović is the first to have filled the stage of the Gran Teatre del Liceu with naked bodies with a proposal entitled Balkan Erotic Epic (Balkan erotic epic) which the audience applauded generously on their feet. The importance of nudity in this production was confirmed in the final glories when Marina Abramović emerged hand in hand with the choreographer (his is the most outstanding work) and a performer In the buff, as it's commonly called. And we ask ourselves: "Is this nudity the provocative or disconcerting element at the heart of the performance?" Has the creator taken a leap into a more accessible visual spectacle, replacing the strange, the inexplicable, with the obvious?

Mary Magdalene was not a sinful prostitute, but one of the apostles and a companion of Jesus Christ. She stood at the foot of the cross and delivered the good news of the resurrected Christ. Furthermore, she is the central figure in a theatrical production that reclaims the true role of women in history in a show where the captivating audiovisual component largely compensates for the shortcomings of the text and the dramaturgy.